Commodore, the first US independent label to specialise in small-group jazz, started operations the night after Benny Goodman's 1938 Carnegie Hall extravaganza, using two musicians who'd taken part, Hackett and Stacy, and also allowing Freeman to immortalise his ad hoc tenor-piano-drums trio. From there, it was a case of formalising Condon's studio jamsessions, while Freeman formed his own group and recorded for major label Decca. But then Commodore founder Milt Gabler went to work for Decca, where he prolonged the Condon approach (as well as producing Billie, Ella and others). Although Eddie's so-called ‘Chicago style’ differentiated itself from both New Orleans revivalism and from any later developments, there's an undiminished vitality to nearly everything here. And given the emphasis on solos as well as traddy ensembles, it's no surprise to find individualistic voices such as Freeman or Pee Wee Russell's strangled pitches standing out – as do contributions by Teagarden, Hackett, Davison and Ed Hall. Unlike some revivalist bands the rhythm-sections are jumping, whether or not Condon contributes guitar as well as his bandleading ability. For those who already possess some of this material, note that the Commodore alternate takes are previously issued (in massive out-of-print box sets) as are some Deccas, but there are no fewer than 15 Decca takes released here for the first time.